It is unfortunately not to their work that the three composers gathered here for the first time owe their fame but above all to their career as pedagogues in music teaching. Nadia Boulanger has, so to speak, created a school that has brought together students from all over the world, who have since become eminent figures in the musical world, as composers, pianists, instrumentalists or conductors. The list is long and prestigious. She worked all over the world giving master classes; her influence was considerable and remains. Elsa Barraine taught more classically at the Conservatoire national supérieur de Paris from 1952 to 1974. She was a professor of analysis from 1969. Henriette Roget (now by her marriage Madame Ramon Puig), born the same year as Elsa Barraine, in 1910, was accompanying professor at the Conservatoire national supérieur de Paris in 1957. Moreover, she leaves to Japan, where she regularly went from 1979, the memory of a demanding and remarkable piano teaching. All three were pianists and organists. And all three leave a substantial repertoire of melodies: those of Nadia Boulanger are now all published, thanks to the Centre Nadia et Lili Boulanger (recognized public utility) and Alphonse Leduc editions; those of Elsa Barraine are more difficult to find; it is probable that the political commitment of the composer (who joined the French Communist Party in 1938, resigning in 1949) did not ensure her welcome in major publishing houses; the musical world was never, unlike the literary world, very "left". The scores of her found are not melodies, but rather popular choral works, published by Le Chant du Monde. As for those of Henriette Puig-Roget, they are either exhausted (for what was published, at Leduc, mainly) or remained unpublished. Her daughter Pauline does a remarkable job of spreading her mother’s work. All three were candidates for the Prix de Rome at a young age; this was in a way the culmination of the apprenticeship work at the Conservatoire for any apprentice composer. Nadia Boulanger won the Second Grand Prix in 1908, Henriette Puig-Roget the First Second Grand Prix in 1933. Elsa Barraine was the only one of the three who won the First Grand Prix in 1929. She was nineteen years old! The Prix de Rome focused on making young composers work on poetic texts to sing, and the cantata of the final competition had to concretize this work; which involved upstream a real teaching of poetry and prosody. Through the melodies presented here, we can understand the results of this awakening, as well as the literary affinities of the three musicians; those of Nadia Boulanger are in the line opened by Fauré and Debussy. The other two composers, born the same year shortly before the First World War, discovered other paths. It is undoubtedly revealing to see them drawn from the same book of a foreign poet, translated from the English by André Gide (1869-1951), founder of the Nouvelle Revue Française (NRF)! The majority of the melodies recorded here are recorded for the first time, allowing to discover a little known part of the inexhaustible world of the French melody. Program note by François Le Roux Singer and director of the Centre international de la mélodie From the booklet of the record 'Filiations' of the label Présence compositrices